By Robert Stecker
Publish 12 months note: First released February twenty fifth 2005
Praised in its unique variation for its updated, rigorous presentation of present debates and for the readability of its presentation, Robert Stecker's new version of Aesthetics and the Philosophy of paintings preserves the key issues and conclusions of the unique, whereas increasing its content material, delivering new beneficial properties, and embellishing accessibility. Stecker introduces scholars to the historical past and evolution of aesthetics, and likewise makes a big contrast among aesthetics and philosophy of paintings. whereas aesthetics is the learn of worth, philosophy of artwork offers with a much broader array of questions together with matters in metaphysics, epistemology, the philosophy of brain, to boot worth thought. defined as a "remarkably unified creation to many modern debates in aesthetics and the philosophy of art," Stecker makes a speciality of sympathetically laying endure the play of argument that emerges as competing perspectives on an issue have interaction one another. This publication doesn't easily current an argument in its present nation of play, yet as an alternative demonstrates a philosophical brain at paintings aiding to strengthen the difficulty towards an answer.
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Additional info for Aesthetics and the Philosophy of Art: An Introduction (2nd Edition) (Elements of Philosophy)
Hence, the pretense is neither needed nor desirable, and may justly be described as a distortion if it is presented as our characteristic mode of aesthetic appreciation of nature. Does the distortion objection apply to the other models we have mentioned so far? If it does, it must do so on somewhat different grounds, since these other models require no pretense on our part. When we examine a stone, we are not pretending that it is smooth, gray, and solid, that it has as a graceful shape, and is unaccountably pleasant to touch.
However, even if one thinks of nature as the creation of an intelligent being and as beautiful, it doesn’t necessarily follow that it is art. ” 3. The most forceful proponent of the distortion objection is Allen Carlson (see Carlson 1979). 4. Malcolm Budd (1996) argues that to properly appreciate nature one has to appreciate it “as nature,” and to do this one has to conceive of the object of appreciation as some natural thing (such as a snowfield). Allen Carlson’s post-1979 discussions of the distortion objection emphasize the two ways of developing the objection proposed here.
1 Kant thought that four features are essential to such judgments and distinguish it from others with which it might be confused. First, such judgments are subjective, that is, they are based on a felt response of pleasure, rather than the application of a rule or a concept. Second, aesthetic judgments claim “universality,” that is, implicit in them is the claim that others ought to judge or respond similarly. Third, such judgments are disinterested. This means that our response is independent of any advantage I or someone else could gain from the object of the judgment, whether that advantage is material, cognitive, or moral.